Not recommended to read and to listen if you aren’t really into music.

It’s 6 am and you’re walking in a desolate urban place designed by your own mind, by your own limitations, by the pure nature of thought, under the toxic induced coma by this drug called Vertikal by these Swedish worshipers of the moon called Cult of Luna.

The verticality is in peril to be just some screen of smoke and mirrors laid there to deny passage to those who aren’t initiated in transcending the simplicity and accepting that there is a higher plane of existence beyond their mortal reach.

The common theme lay like a victim in the open ears of the listener, starts with The One and then appears and disappears in 7 other songs, making this melodic footprint a cognoscible trademark and also the synthesis of the entire album, bringing us closer to the synchronization.

The repetitive and linear sound waves are exactly on the same frequency of the human mind, hertz after hertz, getting closer to the inevitable horrific fusion of man and machine, invading your mind like an illegal download process, with imprisonment as last effect.

There is no road, no actually journey, there is only the static fields of detainment isolating each free piece of reason, burning them all in the newly created fire of unconscious mechanize behavior of nowadays human.

It was conceived as a last warning or just as another harsh criticism, of the most probable outcome of continuing on this path that the mindless insensitive thick headed humanoids are running towards.

Most of the nails now being used to hold the shackles are made of one instrument bringing doom being closely followed by the ensemble, painting order in the chaotic oriented mind of the individual who is starting to inject with each song, a small amount of verticality.

The One opens the grand gates of the mechanized prison in which you will pay for you foolish ignorant sins for the next 110 minutes.

I: The Weapon is the philosophical creed of the whole album, lyrically and also melodically, stating the purpose and the means, to achieve it.

Vicarious Redemption, The Sweep, Synchronicity and Mute Departure are all part of the initial phase, each describing a tireless effort to fight the unimaginable enormous enemy, ruling over the futuristic citadel in which you are prisoner.

Samples of sci fi sounds are disturbing the pure equilibrium between the voice and the main instrument line, plunging the thrilling industrial soundscape into a deep sea of authenticity of the times yet to come.

The impression of a leap of faith into unknown planes of existence floats above the ocean of sound, rarely touching it, but leaving an obscure and bloody opening, generating waves of pure instrumental and vocal aggression.

Disharmonia is the perfect transition and break to the last phase of the master plan, 45 seconds of pure surreal bliss, like a blessed storm of white noise aiding you’re the realism of your dreams while you sleep on the few last steps before the end.

In Awe of, Passing Through and The Flow Reversed bring you with baneful accuracy closer to the inevitable and now actual, Death.

The Influence of Fritz Lang’s 1927 sci-fi movie Metropolis is one of the interesting things in a multicultural way about this album, but what they really achieve is to create a viable counter thesis for Thomas Hobbes’s human life in the state of nature hypothesis.